Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Reviews

'O lucky Saint-Saëns! Lucky three times over! First, fortunate to have presided over Cavaillé-Coll's magnificent organ in La Madeleine; second, blessed with friends and pupils who revered him and inspired his improvisations; and third, surely grateful now to have in Andrew-John Smith an advocate who understands just how to lift from the printed page and project this remarkably rigorous yet beguiling music. The combination of this artist playing this music in such an authentic setting proves to be unbeatable' (Gramophone)

'Recorded on the Cavaillé-Coll instrument in Paris’s La Madeleine, where Saint-Saëns was organist for two decades, this programme centres on the sort of improvisations that spurred Liszt to describe Saint-Saëns as the finest organist in the world' (The Daily Telegraph)

'The preludes and fugues make a sharply contrasted trio: the first and last, in D minor and C, are grand in scale and conception; the second, in G, is much more compact and relaxed. Smith makes full use of the resources of the Madeleine instrument to colour them all' (The Guardian)

Introduction

The Trois Préludes et Fugues, Op 109, were completed in February 1898 at Las Palmas and are dedicated respectively to Fauré, Périlhou and Henri Dallier, who since 1879 had been organist of St Eustache and was to succeed Fauré at La Madeleine in 1905. On the receipt of a complimentary copy of the newly published work, Fauré wrote to Saint-Saëns: ‘Upon my return from London I found the superb Préludes et Fugues for organ which I will never be able to play properly, and I had the great joy of seeing my name at the head of one of them. I thank you a thousand times for this pleasant and flattering surprise.’

Saint-Saëns was renowned for his improvised fugues and Op 109 demonstrates well the ‘clean, clear, incisive subject, the surprisingly ingenious countersubject, the exquisitely imaginative and inventive episodes’ of which Huré wrote. Saint-Saëns himself related the anecdote of the bride who shocked him with the request not to play fugues at her wedding as they were too serious, and whilst Op 150 reveals an array of improvisatory possibilities, Op 109 attests also to the variety of his fugues. The first and third of Op 109, in D minor and C major respectively, are certainly cast in the grand style that he advocated for the instrument, though with varying characters. The G major, however, is full of the charm, grace and balance found in so much of his music. Vierne praised the works for their form and colour and asserted that they should be ‘… in the repertoire of any organist truly worthy of the name, as much for their superb style as for their virtuosic demands’.